ROBERT ELLIS

ROBERT ELLIS

LAND

14 Feb to 11 Mar 2015

www.milfordgalleries.co.nz

Milford Galleries Dunedin 18 Dowling Street (03) 477 7727 info@milfordhouse.co.nz

Arepa Omeka, Maehe (1983) acrylic on unstretched canvas, canvas: 1630 x 1275 mm

1

Rakaumangamanga, 19 Pepurere (1981) acrylic on unstretched canvas, canvas: 1890 x 1622 mm

2

Kite, Noema (1980) acrylic on unstretched canvas, canvas: 1730 x 1740 mm

3

Aperira (1983) acrylic on unstretched canvas, canvas: 1620 x 1675 mm

4

Rakaumangamanga, 20th October (1980) acrylic on unstretched canvas, canvas: 1950 x 1705 mm

5

Rakaumangamanga, 16 Tihema (1980) acrylic on unstretched canvas, canvas: 1965 x 1725 mm

6

Te Manu Whara, Tihema (1980) acrylic on unstretched canvas, canvas: 1995 x 1730 mm

7

This collection of paintings from Robert Ellis is imbued with the concept of tūrangawaewae - a deep connection with land which is both spiritual and physical.

Ellis weaves together threads from his own sense of place and history with those drawn from his wife’s Ngāpuhi/Ngāti Porou heritage. The rich visual and symbolic languages of his paintings translate into complex works of art with subtle layers of meaning to explore.

The elasticity of verbal language is used to ‘hide in plain sight’ multiple cultural meanings in the earliest paintings of this series. KITE, Noema 1980 and Te Manu Whara Tihema 1980 both exhort the viewer to search, to discover (kite). The word takes centre stage in the paintings, each of which is divided up into simple geometrical shapes reminiscent of banners or signage. It is testament to the artist’s appreciation of language and tikanga, that manu whara (literally: ‘wounded bird’) also denotes a sacred kite flown by tohunga for purposes of divination and communication with the gods. (1) Ellis acknowledges the different pathways to knowledge and does not privilege one over another.

The Rakaumangamanga works are named for the maunga (mountain) they represent and to which Ellis is personally linked through his wife Elizabeth’s ancestral ties. Replete with symbolism, they address a particular time in history: “I was part of the landscape at that time when the land was being subdivided and sold with great conflicts between the local council and Maori shareholders of the land.” (2) “when people got in by road… suddenly all these fences went up ‘this is my land, that’s yours’… people were squaring it up and finding out who owned what...” (3) Ellis is always conscious of the complexity of settlements and histories, myths and legends that is connected to a certain place. This can be seen in the layering of colour and pattern in the surface of his works where symbols lie atop an older, painted ‘history’. In Rakaumangamanga 19 Pepuere 1981 the stepped bulk of the mountain’s profile dominates the canvas and Ellis uses strong red lines to cut through the rich black-green of the hill, suggesting roads, surveying lines, and topographical

maps. Thinly slanted shapes at the top of the painting contain barely legible numbers and may be interpreted as potential parcels of land. Muted glints can be spied in the textured paint and Ellis notes: “I was using metallic colours - gold silver, copper and bronze – to extend the colour vocabulary, and hybrids of these produced quite distinctive, unique colours and extended the painting range. This was one of the characteristics of my paintings at the time.” (4) Like contemporaries Colin McCahon and Ralph Hotere, Robert Ellis was strongly aware of the role of the written word as sign and symbol. All three painters were concerned with issues of land, spirituality, and biculturalism, although approached them in very different manners. As with McCahon and Hotere, Ellis integrated text into his paintings using his own, idiosyncratic typeface but unlike them uses words as signposts rather than personal exhortation. In Kite Noema 1980 and Te Manu Whara, Tihema 1980 the block capitals are an intrinsic part of the composition of the paintings, acting initially as a graphic element and then as a symbolic one. The words become emblems, balancing form and meaning equally. The opening lines of Te Rauparaha’s famous haka dominate the canvas in Aperira 1983 and the clean lines of the white-on-black lettering brings to mind road signs of the time. Ellis lays the text before the viewer, sets the visual and cultural parameters, and leaves viewers to read the signs as they wish.

The text becomes both the message and the medium in Arepa Omeka, Maehe 1983. ‘Arepa’ and ‘Omeka’ are deliberate references to Rātana, but also sit firmly within a Western historical context that goes back to Ancient Greece and this cultural ambiguity intent allows for a broad interpretation of the work. Using minimal colour, Ellis pares the painting back to its essentials. The words appear to float above the dense black background and the stylised comet seems to have been drawn across the canvas, leaving trails in the painted surface. The tightly controlled outlines of both lettering and star are softened by the subtle texture of the paint within, and Ellis likewise disrupts the black ground of the painting with small spatters of white and red. Recalling the hand of the artist, these organic elements are the imperfections that serve to enhance the allure and power of the work as a whole.

Robert Ellis draws observations from personal as well as social perspectives to explore elements of New Zealand identities and the tangled histories contained in the land: geological, environmental, European, Māori, political, private. These narratives combine to create a deep, abiding, and spiritual sense of place in the paintings that make up Land.

1. http://history-nz.org/kite.html. Accessed 23/01/15 2. Robert Ellis quoted in Virginia Were, “Taking McCahon Neat”, Art News, Autumn 2003, p.46 3. Robert Ellis in discussion with Megan Lyon, Auckland, 2002 4. Robert Ellis. Artist’s Statement, 2015.

ROBERT ELLIS b. 1929 Northampton, England, lives Auckland

City, River & Orange Sky (1964)

Robert Ellis is one of New Zealand’s pre-eminent artists. He has held more than 60 solo exhibitions and innumerable group exhibitions in New Zealand and abroad. Over the past decades Robert Ellis’s paintings have addressed issues of New Zealand identity in which he draws together threads of European and Pacific cultures. These works make observations about the two cultural threads from a personal as well as social perspective. They combine European and Pacific images. Those deriving from the West include the horse, chair and chalice and medieval geometric designs. The Pacific imagery features the Ratana symbol and the koru while there are a number of others that cross boundaries such as the hand, the fish and the stars.” (1) “I’m trying to convey a philosophic viewpoint. So my paintings are full of all sorts of things, symbolic conundrums that tempt the person looking into trying to seek and therefore to get more out of the paintings. I use disparate images I change the scale and because they are juxtaposed they assume a different kind of identity. They become something else.” (2) “There is deliberate disparity between objects so that the final imagery is rich in meaning but partly enigmatic. Although narrative in content they are open to a variety of levels of interpretation. In all these images there is a sophisticated handling of design aspects as well as a rich colouristic and textural treatment of the medium”. (3) “Underlying most of Ellis’s work is a conservationist ethic, a concern to preserve what is valuable from the past, whether it be spiritual or cultural values, natural landforms or simple lifestyles.” (4) Born in Northampton, England 1929, Ellis studied at Northampton School of Art from 1944 to 1947 and attended the Royal College of Art, London from 1949 to 1952. He came to New Zealand in 1957 to take up a position as Senior Lecturer at Elam School of Fine Arts where he taught from 1957 to 1994. He has lived on Auckland’s North Shore since 1970.

Ellis has works in numerous major public and private collections throughout New Zealand, UK, Australia, and the USA, including the British Foreign Office, Aotea Cultural Centre and Harrah’s Casino Collection Auckland. Although primarily known as a painter who demonstrates a “technical sophistication in the handling of design, texture and colour”. (5) Ellis has worked in many mediums including etching, tapestry, lithography, medallic casting, photography and video.

1. John Daly Peoples, ‘North Shore Artist’s Catalogue’ Northart 2001.

2. Megan Lyon in conversation with Robert Ellis, July 2002.

3. Michael Dunn, ‘A Concise History of New Zealand Painting’, Craftsman House, 1991.

4. Warwick Brown, ‘100 New Zealand Paintings’, Godwit, 1995.

5. Michael Dunn, ‘Contemporary Painting in New Zealand’, Craftsman House, 1996.

Robert Ellis 2015 CV P a g e |1

Milford Galleries Dunedin

www.milfordgalleries.co.nz

ROBERT ELLIS b. 1929 Northampton, England, lives Auckland EDUCATION Northampton and Hammersmith Schools of Art and was awarded a royal exhibition Scholarship to the School of Painting at the Royal College of Art, London.

SELECTED SOLO EXHIBITIONS (1990+) Ellis’s first solo exhibition was in 1959. He has been exhibiting since. For a full and complete list of his solo exhibitions, please refer to the 2014 publication ‘Robert Ellis’, Ron Sang Publications.

2015 2014 2013 2008 2007 2006 2005 2004 2002 1994 1993 1992 1991 1990

Land, Milford Galleries Dunedin Robert Ellis, Auckland Art Gallery Toi o Tāmaki, New Zealand Paintings, Milford Galleries Dunedin Works Unseen, milford galleries auckland Selected Works by Robert Ellis , Milford Galleries Dunedin Shielded Histories, milford galleries Auckland Covenant, milford galleries Auckland Kite: see find recognise, milford galleries Auckland Maungawhau/Mt Eden, milford galleries auckland Nga Taonga, New Paintings by Robert Ellis, Gow Langsford Gallery, Auckland Nga Toanga, New Drawings by Robert Ellis, Works on Paper Gallery, Auckland Robert Ellis, Gow Langsford Gallery, Auckland Robert Ellis, Janne Land Gallery, Wellington The Aotea Tapestry, National Art Gallery of Victoria, Melbourne, Australia New Paintings by Robert Ellis, Gow Langsford Gallery, Auckland

SELECTED GROUP EXHIBITIONS (1990 +) Ellis’s first group exhibition was in 1948. He has been exhibiting since. For a full and complete list of his solo exhibitions, please refer to the 2014 publication ‘Robert Ellis’, Ron Sang Publications.

2014 2013

2012 2011

2010

2009

Drawings 2014, North Art, Auckland Drawings and Works on Paper, Art in the Window and Pocket Edition, North Art, Auckland Landmark Exhibition: Selected Works from the Rutherford Trust Collection, TSB Bank Wallace Arts Centre, Auckland Summer Show, Milford Galleries Dunedin One Night, Four Weeks, The John Weeks Memorial Trust Collection, Window, The University of Auckland Rear Vision, Six Artists Looking Back, Give Take and Drawings 2012, North Art, Auckland Significant Works, Cosen and Summer Show, Milford Galleries Dunedin Pindrop Foundation, Elena Keith, lithograph From the Stone, the Floor or Behind the Door: Small Treasure from the Artist’s Studio Large Works, Milford Galleries Dunedin Contemporary Art Works by Artists of the Region, Drawings 2011, Pocket Edition and Small Works for Large Walls, Northart, Auckland GEMS, The Earls Street Journal and Summer Show, Milford Galleries Dunedin Mahurangi Group 8th Annual Exhibition, Matakana Drawings 2010, Northart, Auckland Delights, MANZ, Remuera Gallery, Auckland Te Huringa, Turning Points, Whangarei Museum, Te Wharetaonga o Whangarei Garden of Delight, Auckland Botanical Gardens Group Seven, Drawings ’09 and Recent Works, Northart, Auckland Te Kete Araonui Experience, ASB Showground, Atamira Expo, Auckland Garden of Delights, NZCMG, Haukaiwaka Centre, Manukau, Auckland Masterworks, milford galleries Queenstown Journeys, MG, Auckland Te Huringa, Turning Points, Dunedin Public Art Gallery, Dunedin

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Milford Galleries Dunedin

www.milfordgalleries.co.nz

2008

2007 2007 2006 2005

2004 2003

2002

2001

2000

Solid Gold, Classic Hits from Rutherford Trust Collection, Waikato Museum Te Whare Taonga O Waikato, Hamilton; Expressions Gallery, Upper Hutt; Te Manawa Museum of Art, Science and History, Palmeston North Te Huringa, Turning Points, Rotorua Museum of Art and History Te Whare Taonga O Te Arawa 10 Big Painitings, Northart, Northland Hotere, Ellis, Arnold, Main, Tootill, milford galleries auckland Auckland Art Fair Braithwaite, Ellis, Harris, milford galleries Auckland Covenant, milford galleries auckland Chosen: Premier Investment Exhibition, milford galleries Auckland McCahon, Hotere, Ellis, Harris, milford galleries Queenstown Transit of Venus, milford galleries Auckland Chosen: Premier Investment Exhibition, milford galleries auckland Notions of the Figurative, Milford Galleries Dunedin Te Wa: The Space, Wanganui Artists in Eden: Maungawhau/ Mt Eden Community Arts Trust, Auckland The Cloak, milford galleries auckland Federation Internationale de la Medaille XXVIII Fidem Congress, Paris Mint [Monnaie de Paris], France Pacific Rim: Te Pae O Te Maoananui A Kiwa, Simmons Gallery, Conduit Street, London Artist’s Choice 11, Mt Eden Picture Framers Gallery, Auckland Artists in Eden: Maungawhau/ Mt Eden, Community Arts Trust, Auckland Chosen: Premier Investment Exhibition, milford galleries Auckland Tane Whakaapiripiri, Contemporary New Zealand Artists. Awatahi Marae Arts Festival Auckland Living Treasures / Art of Remembrance, Auckland Museum, Auckland Fine Art Catalogue Exhibition, Warwick Henderson Gallery, Auckland Artists in Eden: Maungawhau/ Mt Eden, Community Arts Trust, Auckland Art Event 2001, Robert McDougall Art Gallery, Christchurch Artist’s Choice 1, Mt Eden Picture Framers Gallery, Auckland Spring Catalogue Exhibition, Gow Langsford Gallery, Auckland The 100 x 100 Exhibition, McPherson Gallery, Auckland Works from the University of Wellington Art Collection: Whangarei Art Museum, Whangarei Federation Internationale de la Medaille XXVIII Fidem Congress: Medaillenkunst 2000, Goethe National Museum, Weimer, Germany Millennium and America’s Cup Exhibition, Warwick Henderson Gallery, Auckland Drive: Power>Progress>Desire, Govett Brewster Art Gallery, New Plymouth Artists in Eden: Maungawhau/ Mt Eden Community Arts Trust, AucklandThe Emigrees II, Te Wa Gallery, Whanganui Arts Trust, Wanganui MM Mellennium Medallions, The City Gallery, Wellington Looking Back: Artists Who Shaped New Zealand Painting Last Century, Gow Langsford Gallery, Auckland Robert Ellis / Greer Twiss-New works on paper, Campbell Grant Galleries, Christchurch Spring Catalogue Exhibition, Gow Langsford Gallery, Auckland The 100 x 100 Exhibition, McPherson Gallery, Auckland New Zealand Artists, Mairangi Arts Centre, AucklandThe Still Life Show, Mt Eden Picture Framers Gallery, Auckland Spiritual Themes in Art – Reformation, St George’s Presbyterian Church, Takapuna, Auckland The Medallion Show: 10th Anniversary of the Contemporary New Zealand Medallion Group.

McPherson Gallery, Auckland Auckland Society of Arts, 130th Anniversary Exhibition, ASA Gallery, Auckland The 100 x 100 Exhibition, McPherson Gallery, Auckland Charity Fine Arts Exhibition: Starship Children’s Hospital, Warwick Henderson Gallery, Auckland New Zealand Fine Art, Warwick Henderson Gallery, Auckland The New Frontier, Centre of Contemporary Art, Christchurch Artists in Eden: Maungawhau/ Mt Eden Community Arts Trust, Auckland The Deloitte & Touche Art Collection, Deloitte House, Auckland1998 The 100 x 100 Exhibition, The Drawings Gallery, Auckland

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Milford Galleries Dunedin

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1996

1995

1995

1994

1993 1992

Miniature Mail Art: Less is More – More or Less 11Centre of Contemporary Art, Christchurch The Ten Plus Ten Fine Art Show, Warwick Henderson Gallery, Auckland 1998: Six Interviews 1973, Anna Bibby Gallery, Auckland Artists in Eden: Maungawhau/ Mt Eden Community Arts Trust, Auckland Pin Ups, The Drawings Gallery, Auckland Gala Fine Art, Warwick Henderson Gallery, Auckland Federation Internationale de la Medaille XXVI Fidem Congress: Museum Beelden aan Zee, The Hague, Netherlands1997 Modern New Zealand Art: The Domesticated Land, The Land Domesticated Milford Galleries Dunedin, Dunedin New Zealand Artists on the Shore, The Pumphouse Gallery, Takapuna, Auckland Cross Section: A Selection from the Wallace Trust Collection, Wallace Trust Gallery, Auckland New Zealand Artists, Mairangi Arts Centre, AucklandFinding Our Way Home: Works from the Permanent Collection, Auckland City Art Gallery, Auckland The Artline Collection of Contemporary New Zealand Drawings, Warwick Brown Gallery, Auckland Minature Mail Art, Centre of Contemporary Art, Christchurch The 100 x 100 Exhibition, The Drawings Gallery, Auckland Artists in Eden: Maungawhau/ Mt Eden Community Arts Trust, Auckland Youth Prints, Muka Gallery, Auckland, and cities throughout New Zealand Federation Internationale de la Medaille XXIV Fidem Congress: Musee d’art et d’histoire, Neuchatel, Switzerland The 100 x 100 x 100 Exhibition, The Drawings Gallery, Auckland Works in Relief, New Zealand Contemporary Medallion Group, Ferner Gallery, Auckland ECNZ Live!, Works from the Rutherford Collection, City Gallery, Wellington Pin-Ups, The Drawings Gallery, Auckland Hannah’s Sky City Casino, Auckland Artists in Eden: Maungawhau/ Mt Eden Community Arts Trust, Auckland The 100 x 100 x 100 Exhibition, The Drawings Gallery, Auckland Art at Tamaki, The Tamaki Campus, University of Auckland Art Collection, Auckland Contemporary Art in View 1982 – 1994, The Centre for Contemporary Art, Hamilton Catalogue Exhibition, Gow Langsford Gallery, Auckland A Drawing Show- Michael Smither, Patrick Hanly & Robert Ellis, The Drawings Gallery, Auckland Past Students – Present Students, Northampton Central Art Gallery, United Kingdom To Have and to Hold, FIDEM Group, Ferner Gallery of Fine Arts, Auckland Pin-Ups: Unframed Works on Paper, The Drawings Gallery, Auckland Works on Paper, Gow Langsford Gallery, Auckland Lithography in New Zealand, Ferner Gallery of Fine Arts, Auckland The Rutherford Trust Art Collection, Hawkes Bay Exhibition Centre, Hastings The James Wallace Trust Collection, Auckland The Spectrum Art Collection, Gow Langsford Gallery, Auckland Medallions and Small Sculpture, FIDEM Group. Ferner Gallery, Auckland Federation Internationale de la Medaille XXIV Fidem Congress: National Art Gallery, Budapest, Hungary Diversities: Elam Painters, ASA Gallery, Auckland Pacific Parallels: Artists and the Landscape in New Zealand NZ/ USA Arts Foundation with Assistance from the National Art Gallery of New Zealand and the Auckland City Art Gallery; Meridian House International, Washington DC; Block Gallery, Evanston, Illinois; Security Pacific Gallery, Seattle, Washington; San Diego; Museum of Art, San Diego, California; Academy of Fine Arts, Honolulu, Hawaii Medallions 1992, Hawkes Bay Museum, Napier Federation Internationale de la Medaille XXIII Fidem Congress: British Museum, London, United Kingdom A Breath of Fresh Art, 40 new large scale works by New Zealand Artists. Rotorua Art & History Museum, Rotorua Small Worlds: New Zealand Contemporary Medallion Group, Logan Campbell Gallery, Auckland Museum, Auckland

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Milford Galleries Dunedin

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1991

1990

Six New Zealand Artists: Limited edition lithography portfolio. Works on Paper Gallery, Auckland Medallions 91: CSA Galleries, Christchurch and Fingers Gallery, Auckland As Good as Gold: Art Transactions n1981-1991, Wellington City Art Gallery, Wellington Inaugural Exhibition, Warwick Brown Gallery of Contemporary New Zealand Art, Auckland New Zealand Abstract Art 1950-1990 Warwick Henderson gallery, Auckland Art Leads the Recovery, Works on Paper Gallery, Auckland Cross Currents: Contemporary New Zealand Art from the Chartwell Collection, Waikato Museum of Art & History The Chair Show, CSA Galleries, Christchurch 35 Small Paintings, Fine Arts Library, University of Auckland New Zealand 1990, Lithographs by 20 Artists, Works on Paper Gallery, Auckland Black & White, Gow Langsford Gallery, Auckland The City, CSA Galleries, Christchurch ReView 90, Fisher Gallery, Pakuranga, Auckland Wild West 91, Lopdell House Cultural Centre, Titirangi, Auckland Pacific Parallels, Artists and the Landscape in New Zealand. New Zealand/ USA Arts Foundation. Dixon Gallery, Memphis, Tennessee; Cedar Rapids Art Museum, Iowa; Spencer Museum of Art, Lawrence, Kansas Arts Festival Exhibition: Janne Land Gallery, Wellington Two Centuries of New Zealand Landscape Art, Auckland City Art Gallery, Auckland Celebration: Aspects of Contemporary New Zealand Art, Fisher Gallery, Pakuranga, Auckland Acquisitions Review 1988-1990, Auckland City Art Gallery, Auckland New Zealand 1990, Lithographs by 20 Artists, a limited edition portfolio, Muka Gallery, Auckland Federation Internationale de la Medaille XXII Fidem Congress, Helsinki, Finland Elam Painters, ASA Galleries, Auckland Works from the Painting Section, Fine Arts Library, University of Auckland, Auckland Putting the Land on the Map: Art and cartography in New Zealand since 1840, Toured by the New Zealand Art Gallery Directors Council with the assistance of the QE II Arts Council to Wellington City Art Gallery; Bishop Suter Art Gallery, Nelson; Robert McDougall Art Gallery, Christchurch; Dunedin Public Art Gallery, Dunedin.

Second Australian Contemporary Art Fair, Royal Exhibition Building, Melbourne, Victoria The Pembridge Show, New Zealand Institute of Architects in Association with the Elam School of Fine Arts Centenary Committee, Auckland The Elam Staff Show, ASA Galleries, Auckland Large Paintings, Gow Langsford Gallery, Auckland Elam Centenary, A Selection of works from the permanent collection, Auckland City Art Gallery Medallions 90: Fingers Gallery, Auckland New Zealand Landscape Paintings, Warwick Henderson Gallery, Auckland Works on Paper: Inaugural Exhibition, Works on Paper Gallery, Auckland Images for Lovers, Works on Paper Gallery, Auckland Youth Prints, Touring Exhibition of lithographic prints from the Muka Gallery, Auckland

COMMISSIONS AND GRANTS 2004 1991

Knave Windows project: Holy Trinity Cathedral Parnell, Auckland The Aotea Tapestry, The Great Hall, National Art Gallery of Victoria, Melbourne, Australia and the Aotea Cultural Centre, Auckland

SELECTED PUBLIC AND CORPORATE COLLECTIONS Adam Art Gallery Te Pﾄ》aka Toi, Victoria University of Wellington Aotea Centre, Auckland Auckland Art Gallery Toi o Tﾄ［aki Auckland Council, Te Kaunihera o Tﾄ［aki Makau-rau Bell Gully Collection Bonython Collection, Adelaide, Australia British Foreign Office Chartwell Collection Christchurch Art Gallery Te Puna o Waiwhetu

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City Gallery Wellington Te Whare Toi Creative New Zealand, Art Coucil of New Zealand Toi Aotearoa Deloitte Collection Dunedin Public Art Gallery Headmasters’ Council, Auckland Grammar School Hocken Collections Uare Taoka o Hākena, University of Otago Leicestershire Education Committee, UK Museum of New Zealand Te Papa Tongarewa National Art Gallery of South Australia, Adelaide National Art Gallery of Australia, Canberra National Library of New Zealand Te Puna Mātauranga o Aotearoa New Zealand Ministry of Foreign Affairs and Trade, Manatū Aorere Northampton Art Gallery, UK Parliamentary Collection New Zealand Rudy Komon Collection, Sydney Australia Rutherford Trust Collection, Aratoi: Wairarapa Museum of Art & History Sky City, Auckland The Fletcher Trust Collection The James Wallace Art Trust The Suter Gallery Te Aratoi o Whakatu The University of Auckland Art Collection Transpower Art Collection Todd Corporation Art Collection USB New Zealand Ltd Art Collection Unitec Institute of Technology, Te Whare Wananga o Wairaka University of Auckland, Te Whare Wānanga o Tāmaki Makaurau Wānanga O Te Ūpoko O Te Ika a Māui Waikato Museum of Art and History, Te Whare Taonga o Waikato, Hamilton Wellington City Council Art Collection Whangarei Art Museum Te Manawa Toi

SELECTED BIBLIOGRAPHY 2014 2013 2012 2011 2010 2009 2008 2008 2007 2006 2004 2003 2003 2003

Keith, Hamish and Ellis, Elizabeth, Hana and Ngarino Ellis. Robert Ellis, Ron Sang Publications, Auckland, 2014 Landscape Paintings of New Zealand: A Journey from North to South, Godwit and Random House, Auckland, 2013 Docking, Gil and Michael Gunnand Edward Hanfling, Two Hundred and Forty Years New Zealand Painting, David Bateman, 2012 Brownson, Ron (ed.). Art Toi – New Zealand Artat Auckland Art Gallery Toi o Tamaki, Auckland Art Gallery, 2011 The Todd Corporation Art Collection, Grantham House Publications, Wellington, 2010 Pound, Francis, The Invention of New Zealand, National Art & National Identity 1930 – 1970, Auckland University Press, Auckland, 2009 Reid, Nicholas, The First 125 Years, Auckland University Press, Auckland, 2008 McHugh, Michael ‘Mixed Metaphors’, Mindfood, October, 2008 pg 156-158) Eggleton, David, “Steps Up To The Sky”, The Listener, June 23, 2007 ‘Robert Ellis, Shielded Histories’, Catalogue, milford galleries Auckland, Milford House Ltd, Dunedin, 2006) Haines, Tasha ‘Robert Ellis, KITE: see find recognise”, catalogue, Milford Galleries Auckland, Milford House Ltd, Dunedin, 2004 Were, Virginia, ‘Taking McCahon neat’ Art News, Autumn 2003, pg 44 – 47 Dunn, Michael, New Zealand Painting: A Concise History, Auckland University Press, Auckland, 2003 Gardiner, Sue, ‘Maungawhau/ My Eden, a Portrait of a Particular Place’ Art News Autumn, 2003 pp 69- 71

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Milford Galleries Dunedin

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2000 1999 1996 1995 1995 1992?

1992 1991

1991/3 1990 1990 1990 1986 1989 1985 1980 1969 1968

Burke, Gregory and Hana Scott, ‘Drive – Power>Progress>Desire’, exhibition catalogue, Govett Brewster Art Gallery, New Plymouth, 2000.

KW, “Style and Serenity”, Art News, Winter 1999, pp 34 – 35 Dunn, Michael Contemporary Painting in New Zealand, Craftsman House, Sydney, 1996, pg 52 Dunn, Michael ‘Robert Ellis, Farewell to Elam’ Art New Zealand, No 74, Autumn 1995, pg 66 & 67 Brown, Warwick, 100 New Zealand Paintings, Godwit, Auckland, 1995 pg 21 Werner, Tara, ‘Sky City Works of Art; Changing Time”, pp 26 & 27 (catalogue??)

Keith, Hamish, ‘Heartlands: Another View of New Zealand Art’, Art and Australia, Vol. 30, (2), 1992.

Eldredge, Charles C.with Jim Barr and Mary Barr Pacific Parallels, Artists and the landscape in New Zealand, (Catalog to accompany an exhibition held at the San Diego Museum of Art and other U.S. museums, 1991-1993, and thereafter at the National Art Gallery, Wellington, N.Z.Washington, D.C.) : New Zealand-United States Arts Foundation ; San Diego : San Diego Museum of Art ; Seattle : Distributed by University of Washington Press, 1991.

Dunn, Michael, A Concise History of New Zealand Painting, Craftsman House, Sydney, 1991/93 Docking, Gil and Michael Dunn, Two Hundred Years of New Zealand Painting, Bateman, Auckland, 1990.

Blackley, Roger, Two Centuries of New Zealand Landscape Art, Auckland City Art gallery, 1990.

Curnow, Wynstan, Putting the Land on the Map, Gowett-Brewster Art Gallery, New Plymouth, 1990.

Elva Bett, New Zealand Art: A Modern Perspective, Reed/ Methuen, Auckland, 1986.

Smith, Alan, ‘Mapping Imperatives: Putting the Land on the Map at the Govet-Brewster Art Gallery’, Art New Zealand, Spring 1989 pg 74 Brown, Warwick “A Motorway Journey, Paintings By Robert Ellis”, Art New Zealand, , Number 34, 1985, pg 36 – 41 Barr, Jim and Mary, Contemporary New Zealand Painters, Vol .1, Alister Taylor, Martinborough, 1980.

Brown, Gordon and Hamish Keith, An Introduction to New Zealand Painting 1839 – 1967, Collins, Auckland, 1969.

Melville, Robert, ‘A Stranger in New Zealand’, Architectural Review, No. 862, 1968

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Milford Galleries Dunedin

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